Allan Apone, multi-award nominee and personal make-up
artist to Samuel L. Jackson, on technology, time honoured
techniques and the teaching of our craft

W

hen the amazing make-up
artist, Neill Gorton, approaches
you to write something for his
magazine, how can you say no? So, thank
you for asking, Neill.
In my 35 years as a make-up artist in
the film industry, I have witnessed many
technological changes, most for the good.
HD cameras have made it just a bit harder to
hide edges and imperfections on our actors.
On the flip side, new silicones have become
more user friendly and less temperamental,
coupled with new urethanes, the toxicity in
the lab setting has lessened.
Silicone prosthetics and Pros Aid transfers
have become useful additions in the arsenal
of today’s make-up artist. Foam latex is still
a very viable material for many jobs and
even gelatin is still used quite often. Given
all these new and old options we have in the
make-up and prosthetic world, the one key
thing that remains crucial to the look of any
make-up is the artistry of painting.

4

PROSTHETICS

With all the technology available to makeup artists today and all the schools that
are turning out hundreds of students, one
of the things that I see is that only a very
small amount of new artists today know
about color theory. Color theory, in my
opinion, should be taught first
and foremost.
I have encountered so many make-up
artists that cannot mix colors to achieve

do they teach basic beauty and fashion but
prosthetics, make-up effects and facial hair
work as well.
When I started in this craft, there were
not many people willing to share their
knowledge, Dick Smith was an exception.
Now we see so many of the great make-up
artists and effects artists of today not only
willing to share but doing demos, guest
speaking and teaching for anyone who

Given all these new and old options we have in the make-up
and prosthetic world, the one key thing that remains crucial
to the look of any makeup is the artistry of painting…
the desired shade that they need. This isn’t
just a problem for mixing colors but also for
adjusting make-up color given the lighting
scheme of the film. That being said the
biggest change has been in education.

wants to learn.

There are a plethora of choices of schools
in any country around the world. Not only

Allan A. Apone
Make-up Artist MEL, Inc. MelProducts

A thank you to all who share knowledge
and to all who are there to absorb it.
Preserve our Craft, pay it forward.